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Does she have to sight-read something new at each lesson? Can she look at the music and name the notes (away from the harp, both hands)? Is she doing theory worksheets?
Does she have to sight-read something new at each lesson? Can she look at the music and name the notes (away from the harp, both hands)? Is she doing theory worksheets?
Does she have to sight-read something new at each lesson? Can she look at the music and name the notes (away from the harp, both hands)? Is she doing theory worksheets?
I have a friend who loads her concert grands in a Honda Element, but it’s not true that you can hose them out. The interior isn’t waterproof and you’ll get water into places you shouldn’t if you try that. They are easily wiped clean, though.
I’m with you, Sylvia. I think it’s fine to discuss work, even in the medical profession, as long as one doesn’t name names. Hearing about other people’s experiences is a great way to learn without repeating others’ mistakes or re-inventing the wheel. Sometimes you get a whole new perspective on something that never would have occurred to you otherwise.
I do know some harpists who prefer not to discuss fees, and I respect that, but I don’t mind talking about money. Frankly I find it helpful to know what’s going on in the marketplace.
Rosalind, try http://www.practiceopedia.com. It looks like you can order from there.
Rosalind, try http://www.practiceopedia.com. It looks like you can order from there.
Rosalind, try http://www.practiceopedia.com. It looks like you can order from there.
Contact the Virginia Harp Center. If they don’t know the price, they’ll find out and they can place the order for you.
Miss Chalifoux (one of Salzedo’s students) told me to keep the fifth finger next to the fourth, never sticking out. That was not a problem of mine, but she did relate a story about a student who constantly held that finger out and ended up with so much bad tension in the arm between wrist and elbow that she could hardly move, much less play.
Miss Chalifoux (one of Salzedo’s students) told me to keep the fifth finger next to the fourth, never sticking out. That was not a problem of mine, but she did relate a story about a student who constantly held that finger out and ended up with so much bad tension in the arm between wrist and elbow that she could hardly move, much less play.
Miss Chalifoux (one of Salzedo’s students) told me to keep the fifth finger next to the fourth, never sticking out. That was not a problem of mine, but she did relate a story about a student who constantly held that finger out and ended up with so much bad tension in the arm between wrist and elbow that she could hardly move, much less play.
Carl, I’m confused. I have Bochsa’s “Forty Progressive Studies” which is, according to the front cover, published in two books. The L&H catalog lists for Bochsa: two volumes of 50 Lecons Progressives, two volumes of 50 Studies (arr. Hasselmans) and two volumes of 40 Easy Studies.
My book has the No. 7 etude that sounds like the one you described with the big chords. So which of these are the books Steven is using, which do you prefer, and what do I have? Has the name of my book changed? I inherited it and it’s pretty old–the price was $1 from Carl Fischer!
You can play a lot of orchestral literature on a Camac Clio–I do– but some pieces require those bottom three wires, in which case I have to haul out my concert grand. If you are tall, you may not feel comfortable on a Clio. Do try one to see how it feels. If you feel a concert grand would be your best choice, do consider a used one of good quality. Some are available for very good prices. Always have a used harp checked out by a qualified harp tech or a professional harpist you trust who is knowledgeable about harps and who has no vested interest in the transaction. Your harp is out there!
